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Msm Camerata Nova
Saturday, March 6, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM CAMERATA NOVA George Manahan (BM ’73, MM ’76), Conductor PROGRAM JAMES LEE III A Narrow Pathway Traveled from Night Visions of Kippur (b. 1975) CHARLES WUORINEN New York Notes (1938–2020) (Fast) (Slow) HEITOR VILLA-LOBOS Chôros No. 7 (1887–1959) MAURICE RAVEL Introduction et Allegro (1875–1937) CAMERATA NOVA VIOLIN 1 VIOLA OBOE SAXOPHONE HARP Youjin Choi Sara Dudley Aaron Zhongyang Ling Minyoung Kwon New York, New York New York, New York Haettenschwiller Beijing, China Seoul, South Korea Baltimore, Maryland VIOLIN 2 CELLO PERCUSSION PIANO Ally Cho Rei Otake CLARINET Arthur Seth Schultheis Melbourne, Australia Tokyo, Japan Ki-Deok Park Dhuique-Mayer Baltimore, Maryland Chicago, Illinois Champigny-Sur-Marne, France FLUTE Tarun Bellur Marcos Ruiz BASSOON Plano, Texas Miami, Florida Matthew Pauls Simi Valley, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike. -
University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
1 MUHL M406 Topics in Music History 1850-Present, 2 Credits, MUHL
MUHL M406 Topics in Music History 1850-present, 2 credits, MUHL M815, 3 credits Topic: Three American Mavericks: Charles Ives, Ruth Crawford Seeger, and Aaron Copland Fall 2006 Instructor: Dr. Valerie Goertzen, Communications/Music 201 Phone 865-2207; email [email protected] Office hours: Mondays, 2-3 p.m., Tuesdays, 9:30 to10:30 a.m., or by appointment Class meeting time: Wednesdays, 4:30-6:20, Room CM 135. Bulletin description: A seminar-style study of a single topic concerning music from Wagner to the present, usually focusing on some aspect of western art music but including consideration of influences from nonwestern and popular musics. Course may be repeated for credit, as long as topic is different. Topic description: According to Aaron Copland, “contemporary music as an organized movement in the U.S.A. was born at the end of the First World War” (Our New Music, 1941). Copland (1900-90) and Ruth Crawford Seeger (1901-53) were among a group of Americans who strived to create independent and challenging approaches to composition in the 1920s. With the coming of the Great Depression in the 1930s and World War II, they transformed their work in accordance with the prevailing spirit of nationalism and populism. Copland composed his famous ballets and other accessible works drawing on materials of the Americas, and Seeger largely set aside composition in order to collect and preserve folk music and to devote her energies to music for children. The compositions of the staunch individualist Charles Ives (1874-1954) of the previous generation became known to a broad spectrum of musical America only beginning in the 1920s, and thus also formed a part of this emerging repertory of new music. -
WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M
WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M. Jones, S.-J. Bradley, T. Lowe, A. Thwaite) Notes to performers by Matthew Jones Walton, Menuhin and ‘shifting’ performance practice The use of vibrato and audible shifts in Walton’s works, particularly the Violin Sonata, became (somewhat unexpectedly) a fascinating area of enquiry and experimentation in the process of preparing for the recording. It is useful at this stage to give some historical context to vibrato. As late as in Joseph Joachim’s treatise of 1905, the renowned violinist was clear that vibrato should be used sparingly,1 through it seems that it was in the same decade that the beginnings of ‘continuous vibrato use’ were appearing. In the 1910s Eugene Ysaÿe and Fritz Kreisler are widely credited with establishing it. Robin Stowell has suggested that this ‘new’ vibrato began to evolve partly because of the introduction of chin rests to violin set-up in the early nineteenth century.2 I suspect the evolution of the shoulder rest also played a significant role, much later, since the freedom in the left shoulder joint that is more accessible (depending on the player’s neck shape) when using a combination of chin and shoulder rest facilitates a fluid vibrato. Others point to the adoption of metal strings over gut strings as an influence. Others still suggest that violinists were beginning to copy vocal vibrato, though David Milsom has observed that the both sets of musicians developed the ‘new vibrato’ roughly simultaneously.3 Mark Katz persuasively posits the idea that much of this evolution was due to the beginning of the recording process. -
95.3 Fm 95.3 Fm
October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op. -
African-American Bassoonists and Their Representation Within the Classical Music Environment
African-American Bassoonists and Their Representation within the Classical Music Environment D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Ian Anthony Bell, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Doctor Russel Mikkelson Copyrighted by Ian Anthony Bell 2019 Abstract This paper is the culmination of a research study to gauge the representation of professional African-American orchestral bassoonists. Are they adequately represented? If they are not adequately represented, what is the cause? Within a determined set of parameters, prominent orchestras and opera companies were examined. Of the 342 orchestral and opera companies studied, there are 684 positions for bassoonists. Sixteen of these jobs are currently held by African-Americans. Some of these musicians hold positions in more than one organization reducing the study to twelve black bassoonists. Translated to a percentage, .022% of the professional bassoonists within these groups are African-American, leading the author to believe that the African-American bassoon community is underrepresented in American orchestras and opera companies. This study also contains a biography of each of the twelve bassoonists. In addition, four interviews and five questionnaires were completed by prominent African- American bassoonists. Commonalities were identified, within their lives and backgrounds, illuminating some of the reasons for their success. Interview participants included Rufus Olivier Jr. (San Francisco Opera), Joshua Hood (Charlotte Symphony Orchestra), Monica Ellis (Imani Winds), Alexander Davis (fellowship recipient), and Andrew Brady (Atlanta Symphony Orchestra). -
Pittsburgh Symphony Orchestra 2017-2018 Mellon Grand Classics Season
Pittsburgh Symphony Orchestra 2017-2018 Mellon Grand Classics Season March 2 and 4, 2018 MANFRED MARIA HONECK, CONDUCTOR BENJAMIN GROSVENOR, PIANO SERGEI PROKOFIEV Symphony No. 5, Opus 100 I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso Mr. Grosvenor Intermission LUDWIG VAN BEETHOVEN Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 19 I. Allegro con brio II. Adagio III. Rondo: Molto allegro LEOŠ JANÁČEK Sinfonietta I. Allegretto II. Andante — Allegretto III. Moderato IV. Allegretto V. Andante con moto March 2-4, 2018, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA SERGEI PROKOFIEV Symphony No. 5, Opus 100 (1944) Sergei Prokofiev was born in Sontzovka, Russia on April 23, 1891, and died in Moscow on March 5, 1953. He composed his Fifth Symphony in 1944, and it was premiered in the Great Hall of the Moscow Conservatory by the USSR State Symphony Orchestra with Prokofiev conducting on January 13, 1945. The Pittsburgh Symphony premiered the work at Syria Mosque with conductor Fritz Reiner on November 28, 1947, and most recently performed it with Leonard Slatkin on March 24, 2013. The score calls for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, piano, harp and strings. Performance time: approximately 46 minutes “In the Fifth Symphony I wanted to sing the praises of the free and happy man — his strength, his generosity and the purity of his soul. I cannot say I chose this theme; it was born in me and had to express itself.” The “man” that Prokofiev invoked in this description of the philosophy embodied in this great Symphony could well have been the composer himself. -
Musicianship IV Syllabus
University of Missouri-Kansas City Conservatory of Music and Dance CONS 242: Musicianship IV Spring 2015 Credit hours: 4.0 CRN: 17576 Instructor: Dr. David Thurmaier, Associate Professor of Music Theory Office: 302 Grant Hall Phone: 235-2898 Email: [email protected] Office Hours: M, T, W from 10-10:50 and by appointment Teaching Assistant: Taylor Carmona Office: 304 Grant Hall Email: [email protected] Catalog Description Continuation of CONS 241. Study of late-nineteenth century chromaticism and analytical and compositional methods of twentieth and twenty-first century music, including set theory and twelve-tone theory. Particular attention is given to the development of critical writing skills and the creation of stylistic compositions. Prerequisite: CONS 241 Meeting Time and Location Monday-Friday, 9-9:50 am, Grant Hall 122 Required Materials Kostka, Stefan and Roger Graybill. Anthology of Music for Analysis. Upper Saddle River, NJ: Pearson Prentice Hall, 2004. Laitz, Steven G., The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. 3rd Edition. New York: Oxford University Press, 2012. Roig-Francolí, Miguel. Understanding Post-Tonal Music (text and anthology). Boston: McGraw Hill, 2007. Notebook, music paper and pens/pencils In addition, you will be required to use the Finale notation program (or equivalent) for composition assignments. This is available for personal purchase at a substantial student discount http://www.finalemusic.com. I recommend against using such free programs as Notepad, as you are not able to take advantage of the many features of Finale. Continual failure to purchase and/or bring required books will result in deductions on homework or exams. -
Concertos and Six Chamber Pieces, Cover Ali the Major Pends of Szymanowski's Career and Thus Show the Composer's Stylistic Evolution
NOTE TO USERS This reproduction is the best copy available. Udverslty of Alberta The Violln Muslc of Karol Szymanowski bv Frank Kwantat Ho O A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Music Edmonton, Alberta Fall, 2000 Acquïsiions and Acquisitions et Biùliographic Services sentrças bibriiraphiques The author has granted a non- L'auteur a accordé une licence non exchism licence dowhg the exclusive pennettant à la National Li%,rary of Canada to Bibliothèque nationale du Canada de reprodnce, loan, distriibute or seIl reproduire, prêter, ckibuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fmede microfichd~de reproduction sur papier ou sur format électronique. The author re- ownershq, of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qpi protège cette thèse. thesis nor substaxitid extracts from it Ni la thése ni des extraits substantieis may be printed or othefwise de celle-ci ne doivent êeimprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. One of the most important segments of Karol Szymanowski's (1882- 1937) comparatively srnall output is the music for solo violin with piano or orchestral accumpaniment. These works. consisting of two concertos and six chamber pieces, cover ali the major pends of Szymanowski's career and thus show the composer's stylistic evolution. The works Szymanowski's early period (1896-1909) reveai his Romantic mots. while the more innovative works of the middle period (1909-1918) demonstrate his growing interest in Impressionism. -
Festival Artists
Festival Artists Cellist OLE AKAHOSHI (Norfolk competitions. Berman has authored two books published by the ’92) performs in North and South Yale University Press: Prokofiev’s Piano Sonatas: A Guide for the Listener America, Asia, and Europe in recitals, and the Performer (2008) and Notes from the Pianist’s Bench (2000; chamber concerts and as a soloist electronically enhanced edition 2017). These books were translated with orchestras such as the Orchestra into several languages. He is also the editor of the critical edition of of St. Luke’s, Symphonisches Orchester Prokofiev’s piano sonatas (Shanghai Music Publishing House, 2011). Berlin and Czech Radio Orchestra. | 27th Season at Norfolk | borisberman.com His performances have been featured on CNN, NPR, BBC, major German ROBERT BLOCKER is radio stations, Korean Broadcasting internationally regarded as a pianist, Station, and WQXR. He has made for his leadership as an advocate for numerous recordings for labels such the arts, and for his extraordinary as Naxos. Akahoshi has collaborated with the Tokyo, Michelangelo, contributions to music education. A and Keller string quartets, Syoko Aki, Sarah Chang, Elmar Oliveira, native of Charleston, South Carolina, Gil Shaham, Lawrence Dutton, Edgar Meyer, Leon Fleisher, he debuted at historic Dock Street Garrick Ohlsson, and André-Michel Schub among many others. Theater (now home to the Spoleto He has performed and taught at festivals in Banff, Norfolk, Aspen, Chamber Music Series). He studied and Korea, and has given master classes most recently at Central under the tutelage of the eminent Conservatory Beijing, Sichuan Conservatory, and Korean National American pianist, Richard Cass, University of Arts. -
CONCERT of the MONTH by Dr Chang Tou Liang
Sensory Classics CONCERT OF THE MONTH By Dr Chang Tou Liang Stravinsky Symphony of Psalms Walton Belshazzar’s Feast Singapore Symphony Orchestra and Choruses Conducted by Lim Yau 15 April 2011, 7.30 pm Esplanade Concert Hall Tickets available from SISTIC The Singapore Symphony Chorus celebrates its 31st year in 2011. For an ensemble more accustomed to performing the great symphonic choral works of the 18th and 19th centuries, the challenge is taking on contemporary works. “How can you call yourself a 21st century chorus if you don’t master 20th century music?” questioned its long-time Music Director Lim Yau. To this cause, he has championed 20th century choral works over the decades, leading memorable performances of music by Hindemith, Schoenberg, Poulenc, Janacek and MacMillan. This year’s offerings are however the most ambitious. The season of 1930-31 was an important one for choral music, as it was witness to the first performances of two most enduring choral works from the 20th century. Both were memorable in different ways, and here’s how: IGOR STRAVINSKY SIR WILLIAM WALTON (1882-1971) (1902-83) Symphony of Psalms Belshazzar’s Feast Composed for: Composed for: 50th anniversary of the Leeds Festival Boston Symphony Orchestra First conducted by: First conducted by: Serge Koussevitzky Sir Malcolm Sargent Setting of: Psalms No.39, 40 and 150 (in Latin) Setting of: Selections from the books of Daniel and Revelation (in English) Notable for: Stravinsky’s reaffirmation of his faith and roots in the Russian Notable for: Technicolour re-enactment -
Sergei Prokofiev
Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia.